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abril 29, 2020

Malika Zarra - On The Ebony Road - 2006

The singer, songwriter and producer Malika Zarra jumps effortlessly, as if it were a lever of change, between apparently unrelated languages ​​and traditions, joining them and using them for mutual enrichment, making an infusion between the music of her native culture with jazz. On The Ebony Road, his first self-released album, mixes chaábi, Berber and Gnawa rhythms with jazz improvisation and his velvety and sinuous mezzosoprano voice.

Born in southern Morocco and emigrated to Paris with her family, Malika cites a variety of influences in her training: Chiha Hamdaouia, the virtuoso of the Lebanese oud Farid el Atrache and the Algerian singer Warda Al-Jazairia, also absorbing the music by Ella Fitzgerald, Bobby McFerrin, Thelonious Monk, Stevie Wonder and Aretha Franklin. He is mainly interested in jazz attracted by what he has of improvisation, which is his main connection with Arabic music. On the other hand, Malika receives training in conservatories and jazz academies in Tours and Marseille, studying with Sarah Lazarus and Françoise Galais. It is in his stage of interpreter in numerous events and clubs of the Paris scene (including the St Germain L'esprit Jazz Festival, Sunside, Baiser Sale, Hot Brass, Espace Julien, Pelle Mele and the Cite de la Musique) when it begins to sing in their own language and write lyrics for jazz, receiving from the public a magnificent welcome.

In 2004 Malika moved to New York, developing a whole repertoire in which he incorporated his Berber, Gnawa and Shaabi inheritance, the elegance of French pop and his baggage for jazz. His reputation as a soloist begins to grow, Malika's vocal versatility leads him to participate in a wide variety of projects, including house, dance, gospel, funk and African music. He records with a wide variety of artists and takes part in a multitude of renowned scenes such as the Carnegie Hall, the London Jazz Festival, the Festival du Monde Arabe, the Duke Ellington Jazz Festival, Brooklyn Academy of Music and a long etcetera.

On The Ebony Road reveals a firm knowledge of its rich diversity of references, the fusion of East and West in a lively, sensual, fresh and deep exercise of inclusion. The fusion of instruments such as the oud and the traditional percussions of the Maghreb with the drums and bass, and its extraordinary vocal technique fly over the songs included in the album. Interpreting in French, English and his native Moroccan Arabic, while drawing his song about Berber and Gnawa sounds and rhythms, Malika reveals himself as a singer and songwriter who can already be within the elite of world music and Jazz

01. Run 
02. Free
03. Pouvoir
04. Fayne
05. All the same
06. Joky heart
07. Mchina
08. Yourjewel

abril 28, 2020

Varios Artistas - Usiende Ukalale: Omutibo From Rural Kenya

"Omutibo", an exclusively Kenyan acoustic guitar style, was invented by George Mukabi in the late 1950s, and quickly adapted by its neighbors in a region that proved to be truly fertile for guitarists. In 2016, Cyrus Moussavi (RawMusic International) was established along the banks of the Yala River to document the songs of the old days. Recorded in locations and courtyards, these are the songs and stories of a golden age of Kenya on the verge of Independence, beautifully resurrected by the composers themselves, more than 50 years later. With presentations and interviews by: JohnstoneOukoMukabi, ShemTube, FanuelAmimo, Jimmy Bongo, SukumaBinOngaro, Peter Akwabi, ZachariahOmufumbwa, OmariMachio and JohaniasKiunya.

1. Jimmy Bongo - Lumumba Is Dead 02:30
2. Omari Machio - Usiende Ukalale (Don't Sleep) 01:46
3. Johnstone Ouko Mukabi - Nili Kwenda Safari (I Went For A Journey) 03:16
4. Zachariah Omufumbwa - Ndogo Ndogo (Small Ladies) 05:17
5. Fanuel Amimo - Ndeshela Omwana (Leave The Child With Me) 02:57
6. Jimmy Bongo - Mulochi (The Curser) 03:43
7. Fanuel Amimo - Dickson Omuranda 04:11
8. Johnstone Ouko Mukabi - Kwetu George (I, George) 02:48
9. Shem Tupe - Adui (Enemy) 05:33
10. Zachariah Omufumbwa - Ndarula Ebutsetse (I Left Ebutsetse) 05:08
11. Sukuma BinOngaro - Mama Lucy 06:01
12. Johnstone Ouko Mukabi - Kwetu George 02:48
13. Peter Akwabi - Malenya 02:58
14. Johanias Kiunya - Mungu Nisaidie (God Help Me) 07:45 

abril 27, 2020

Nass El Ghiwane - La légende - Best of - 2007

Nass El Ghiwane appeared in the 70s of the twentieth century, of humble origin from one of the most popular neighborhoods of the great Casablanca. Considered as revolutionary and social phenomenon, the mythical training continues in active after 30 years, and continues to move much of the current youth of his country. Nass El Ghiwane did not imagine, in its beginnings, what his songs were going to awaken in the public of the seventies, difficult years in the socio-political plane, becoming the voice of the oppressed people. At a time when a simple statement led to the police station, Nass El Ghiwane denounced the people responsible for corruption with their letters and demanded justice that would never come.

Culturally, they adopted a "non-traditional" style along with tradition: heritage had to be remodeled to create texts based on social issues. Musically, its bases include all the diversity of traditional Moroccan music, mixing gnawa sounds with aïssawa and peasant and Berber music, based on simple traditional instruments. The success of Nass El Ghiwane is not limited to Morocco but to the other North African countries, attributing the birth of raï to the influence of the Ghiwani movement on the young people of Oran. Awesome.

01. Saifna Oulla Chatwa
02. Kittati
03. Essinia
04. El Hassada
05. EchemsEttalaa
06. Arraghaya
07. Dayine
08. YoumeMalqak
09. OuaEnnadi Ana
10. SifAlbattar
11. Nerjak Ana
12. Ya Bani Insane
13. KessetLaagouz
14. Oulad El Alam
15. Taghounja
16. Zad El Ham
17. Essalama
18. Ahafine
19. Dellal
20. Essamta
21. Leskam
22. EdemEssail
23. Khadra
24. GhadiFhali
25. LahmounHrafti
26. AlliOuKhalli
27. FirihabMaalik
28. Ya Men Jana

abril 26, 2020

Anouar Brahem - The Astounding Eyes Of Rita - 2009

Anouar Brahem, masterful musician and composer of Tunisian oud, who already surprised us with such exquisite works as Thimar (1998), Astrakan Café (2000) or Le Voyage de Sahar (2006), dedicated to the memory of the Palestinian poet Mahmud Darwish his album The AstoundingEyes Of Rita, with the collaboration of Khaled Yassine to the darbuka and the blessing, Klaus Gesing with the bass clarinet and Björn Meyer to the double bass.

Brahem combines, again, with absolute naturalness the traditional Arab musical forms with a code reading of improvisation (jazz) and an instrumental combination that simply combines instruments of Eastern tradition (the oud, the darbuka and the blessing) with instruments of tradition western (bass clarinet and double bass). Compositions by Anouar Brahem that start from melodies developed by the oud and the bass clarinet, instruments "that seem to belong to each other," according to Brahem. Klaus Gesing brings the beautiful sound of the clarinet that marries perfectly with the vibration of the oud strings, with which it is intertwined in the melodies and with whom most of the solos are distributed.

Far from the usual sound of the drums in jazz, the Arab percussions propose a rhythmic support that acquires nuances of an almost melodic subtlety, which involve the group until forming a unit, in this case, of four musicians. The quartet sounds with such precision that it might seem like a formation founded in the past and, nevertheless, they met for the first time for recording in Udine (Italy) in October 2008. Absolute exquisiteness with cover of the Lebanese Fouad Elkoury (included in his photographic series entitled "Suite Egyptienne"), as if it were Darwish's "Rita and the rifle" poem: a particular look, of melancholy expressiveness while serene, as if sad reality were imposed but far from defeating it. (Adapted from "The Jazz Club")

Tracks list:
01. The Lover Of Beirut
02. Dance With Waves
03. Stopover At Djibouti
04. The Astounding Eyes Of Rita
05. Al Birwa
06. Galilee Mon Amour
07. Waking State
08. For No Apparent Reason

abril 25, 2020

The Creole Choir of Cuba - Tande-La - 2010

Cuban descendants of slaves, who arrived from Haiti more than two hundred years ago, make up the ten members of The Creole Choir of Cuba choir, created in 1994. In their songs they convey the story of their criollization made since the struggles against slavery and the dictatorships The choir sings in Creole, the language of a people condemned to exile on several occasions: first, from Africa to Haiti through the slave trade; later, from Haiti to Cuba reduced once again to slavery by its French masters after the Haitian revolution of 1790, and finally, part of the immigration arrived in Cuba in the twentieth century, escaping political turmoil, poverty and the oppression of the barbarous regime imposed by Pope DocDuvallier.
The Creole Choir of Cuba publishes Tande-La (2010), a sensational tribute to its Haitian ancestors. Coming from the city and sugar province of Camagüey, in the center of the country, these four men and six women emerged from the heart of this city, the third in the country, recognized by UNESCO for the architecture of its historic center, built by settlers Spanish in the 16th century.
The original name of Creole Choir, Desandann, literally means "descendant." The songs of his latest album Tande-La (which translates as "listen") tell the stories of his Haitian ancestors who were taken to Cuba to work in the sugar and coffee plantations. The passionate song of a unique group that celebrates its roots, resistance and irresistible rhythms of life is composed of authentic melodies followed by rich harmonies and Caribbean rhythms.
In charge of the choral director Emilia Díaz Chávez, the songs are offered in Creole, also second language of Cuba, this Creole that the African slaves modified through the centuries, mixing the Amerindian dialects, Spanish, English and French.
It is these moments, these stories, these lives, this uprooting that the Creole Choir of Cuba proposes to share here, with this vibrant tribute through deep, exciting and charismatic voices. Voices only accompanied by subtle percussions that are made available to a repertoire of traditional Haitian songs, most current songs, and Cuban-inspired songs, are, guaguancó, chachachá ... Some polyphonies and scenic performances acclaimed by the public and the press of the places where they have been presented.
01. Edem Chanté
02. Se Lavi
03. Maroule
04. La Mal De Travay
05. NegAnwo
06. Peze Café
07. L'Atibonite Oh
08. Tande
09. Lumane Casimir
10. Fey
11. Dulce Embelezo
12. Chen Nan Ren

abril 24, 2020

Beginner´s Guide To Bellydance - 2008

Beginner´sGuide To Bellydance, from the British label Nascente, from DemonMusicGroup, presents a selection of the best of today's bellydance music. From the cabarets of the Middle East to the folk sounds of North Africa, percussions, tribal fusions, trip hop, gothic sounds, the themes have been selected by DJs and dancers / es, telling the collection with new discoveries, oddities and eight exclusive themes for this edition of Beats Antique, Phil Thornton and Maduro.

Track List:

abril 23, 2020

Sophia Charaï - Pichu - 2011

The name of SophiaCharaï has long been circulating in the Parisian underground circuit. People remember their music full of enthusiasm, songs that appeal to diverse styles, Zingaras guitars, rhythms that oscillate between the languid Portuguese fado, French chanson and Latin American sounds that surround a very personal, strong and expressive voice. And as a backdrop, his "Moroccanism" that he carries, not as a national flag, but as a musical reference. Undoubtedly, Pichu is, by the personal work, its freshness and capacity for wonder, one of the albums of the year 2011.

Born in Casablanca, she has traveled through photography and theater, which explains her fascinating power on stage. His second album Pichu, finished in December 2010, is sung in Moroccan and a little French, and could be the soundtrack of a film filmed jointly by Pedro Almodóvar and Emir Kusturica. Performed by MathiasDuplessy (which displays its virtuosity as a multi-instrumentalist: guitars, banjo, oud, flute, duduk, gombri, santur, accordion, percussion ...), which also composes the songs together with Sophia and Mohamed Zemmouri, and also has The participation of the Macedonian Radio Orchestra (directed by IvanIllic), Pichu sees the light to distort the world, identities and customs. Thirteen themes that reveal the spells of union music, which resemble their wandering artistic life, and that only mixed race people get. Topics that are savored wishing to hear the following to feel the surprise they hold.

SophiaCharaï is a jazz singer who ventured into the music of the world, a vocalist from the South who again blurs the contours of globalization with her Mediterranean vitality, her communicative capacity and her eagerness to cross borders with her colorful and enthusiastic musical luggage.

Tracks list:
01. Pichu-Pichu
02. Casa
03. Dalamouni
04. UnP´tit Chouïa
05. Bouhali
06. Rouhi Marhouna
07. Mêle Ta Langue
08. Raksa
09. Khoud Iddiya Intro
10. Khoud Iddiya
11. Habiba
12. Dokak
13. Cow Girl 

abril 22, 2020

Dawda Jobarteh - Northern Light Gambian Night - 2011

Dawda Jobarteh presents her first solo album, Northern Light Gambian Night, a delicate and beautiful album in which the kora is the protagonist, along with the guitar, bass, some occasional flute and a subtle chorus of female vocals.

Member of the great family dynasty of the Kora of the Gambia (son of Amadou Bansang Jobarteh, grandson of Alhaji Bai Konteh, nephew of Malamini Jobarteh and Dembo Konteh, and uncle of Sona Jobarteh), for this collection Dawda has created a rich and original sound , helped by international collaborators such as the extraordinarily versatile Danish guitarist Carlsen Preben and the Ghanian bassist Nana Osibio, along with brief appearances such as that of John McLaughlin's former flutist, Shashank Subrinayan, and Toumani Diabaté.

In Northern Light Gambian Night, "Karang Folo", traditional, is something like "a first lesson of kora that must be passed when it begins." "Nkanakele", a song for his children, expresses his concern about wars and exploitation, creating a meditative dream atmosphere. Dawda's magic kora is intertwined, perfectly, with Carlsen's guitar, revealing a deep knowledge of the tuning of instruments and melodies, along with the underlying bass of Nana Osibio in most of the songs, and the voices of Maria & Marie-Line Marolany (singers of Salif Keita's band). In most of the subjects the lyrics have a similar charge, as in "Nakano" (My Love), where he denounces the pain caused by polygamy, which does not stop subtracting even one iota of sweetness to the disc. And closing, an exceptional duet with the great Toumani Diabaté recorded in Mali. Everything, produced by himself.

Tracks list:
01. Namo
02. Tama Silo
03. Bamba Bojang
04. Sama Kebbalu
05. Karang Folo
06. Dinding Do
07. Tama Silo (acoustic)
08. Nkanakele
09. Nakano
10. Yankouba
11. Mbassi
12. Duwa
13. Tabara (with Toumani Diabaté)

abril 21, 2020


The legendary bluesman Elmore James is the most influential slide guitarist of the postwar period. He’s been credited as one of the primary architects of blues-rock by virtue of his energizing primal riffs and raw, driving intensity. His influence (in approach, attitude and tone) is incalculable, and can be heard in just about every guitar player who puts a slide on his finger and wails the blues. Elmore James’ signature number was “Dust My Broom” (also titled “Dust My Blues”) – an electric updating of Robert Johnson’s “I Believe I’ll Dust My Broom”. The song ontains the strongest example of James’ personal style: a swooping, full-octave opening figure on slide guitar.

This quintessential release includes Elmore James and his band The Broom Dusters’ magnificent debut album, Blues After Hours, originally released in 1960 by the Crown label. It’s one of the all-time cornerstones of the genre. This remastered collector’s edition also contains 12 bonus tracks from the same period, gathering a variety of those hard-to-find sides Elmore James recorded between 1952 and 1956 for different labels, such as Meteor, Modern, and Flair.


ELMORE JAMES, vocals and guitar, plus:

Frank Fields (bass), Little Johnny Jones, Ike Turner,
Edward Frank (piano),
Earl Palmer, Odie Payne, Jr. (drums), Maxwell Davis (tenor sax), Jewel Grant (baritone sax),
James Parr (trumpet), among others.

Recorded in New Orleans, Los Angeles and Chicago, between 1952 and 1956.




18. DARK AND DREARY [alternate take] 
20. 1839 BLUES

abril 20, 2020

Sierra Leone´s Refugee All Stars - Rise & Shine - 2010

Rise & Shine is the second disc of Sierra Leone’s Refugee AllStars, a solid album with semi-acoustic shots along with elaborate songs with mixtures worthy of the best production, rhythms that are born from the roots of Jamaican reggae to flow into the most African soukous.

The band was founded in the refugee camps in Guinea, where a good part of the people escaped from the merciless civil war that took place in their country of origin between 1991 and 2002. This atrocious conflict produced, apart from a horrible suffering , thousands of refugees who scattered throughout the border countries.
Since then, Sierra Leone’s RefugeeAllStars’s commitment is to denounce that war in which there are only only economic reasons behind: the control of diamond production. Living like a refugee (2006), his brilliant debut, tells the hard stories of survival and overcoming to be able to give continuity to their lives onwards, accompanied by a documentary that immortalized the trip to nowhere in the town of Sierra Leone.
Four years later, Rise & Shine shows a radical change of perspective, directing its gaze to the issues that concern this whole globalized world; the global threat of climate change, disarmament or food shortages. And much closer themes, such as the corruption that appeared after the end of the war and the inequality that prevails in his beloved Sierra Leone, in addition to some hopeful love song.

This new album, which began recording in Freetown, Sierra Leone, and was completed in New Orleans, features the invaluable work of producer Steve Berlin. "Bute Vange" was recorded at the Fuji Rock Festival in Nigata (Japan), and "WatchingAllYoursWays" in Sutton, Canada (around a campfire!). The group, an octet led by Reuben M. Koroma, performs an amazing fusion between traditional West African music and reggae, seasoned with other rhythms such as rap, ragga, ska, soukous (African rumba), Guinean rhythms and spiritualist songs and religious, with the collaboration of the metals of TheBoneramaHorns, of New Orleans. It is worth recreating with "Living Stone" and "Tamagbondorsu". And as a result, a great job full of hope and fun for general enjoyment, a hymn to the redeeming power of the music of people who don't give up.

Tracks list:
01. Muloma (Let Us Be United)
02. Global Threat
03. Oruwiebie/Magazine Bobo Medley
04. Living Stone
05. Dununya (The World)
06. Jah Mercy
07. Tamagbondorsu
08. ButeVange
09. Jah Come Down
10. Bend Down The Corner
11. Goat Smoke Pipe
12. Gbrr Mani (Trouble)
13. Watching All Your Ways

abril 19, 2020

Carmen Souza - Protegid - 2010

Carmen Souza is another of the young exponents of that magnificent generation of Portuguese singers and composers of Cape Verdean origin. Protegid is his third album, sung in Portuguese Creole, where he displays his impressive voice impregnated with the melodies of his culture structured in the most contemporary jazz that can be performed.

Recorded in Portugal, France, Canada and USA, and produced by TheoPas´cal, Protegid has the collaboration of prominent artists from all over the world (in addition to his band) such as Cuban pianist Omar Sosa, Brazilian Cláudio Cesar Lima Ribeiro (guitar ), the Argentine Sebastian Sheriff (percussion), the French Marc Berthoumieux and the Portuguese João Frade to the accordion, the British Derek Johnson (guitar), the Palestinian AdelSalameh (oud), the Portuguese Tora Tora Big Band ...

With this team, Carmen Souza performs a work that moves between the limits of ethnic music (especially in its Cape Verdean roots), worldmusic, Afro-Latin rhythms and jazz, as he did in his previous works (Ess ê nha Cabo Green and True)

With songs written by Carmen herself and with music by TheoPas´cal, the album features a magnificent version of the original song by Cesária Évora "Sodade", while "SongFormyFather" is a review of the classic jazz theme by HoraceSilver. And the rest of the songs give a sound full of winks to Afro-Latin rhythms and a jazz hall, resulting in jazz fusion accompanied by incredible vocal inflections with its right point of phrasing. A perfect combination made with elegance and sophistication.

01. M´sta Li MaBô
02. AfriKá
03. Dos Eternidade
04. Tentê Midj
05. Protegid
06. D´xamessmoment
07. Sodade
08. Song For my Father
09. Kem ê Bô
10. Magia catem
11. Decison
12. Mara Marga

abril 18, 2020

Grupo Medusa - 1981

1 - Baiana
Cláudio Bertrami
2 - Zeby
Cláudio Bertrami
3 - Caminhos
Cláudio Bertrami
4 - Medusa
Chico Medori
5 - Pé no Chão
Chico Medori
6 - Asa Delta
Chico Medori – Cláudio Bertrami
7 - Uma Viagem
Chico Medori – Cláudio Bertrami
8 - Ponto de Fusão
Cláudio Bertrami

Amilson Godoy - Chico Medori - Cláudio Bertrami - Heraldo do Monte - Theo da Cuíca - JorginhoCebion


Grupo Medusa illuminated Brazilian instrumental production with only two LPs. This one, which is here, is the first, the second was Ferrovias, launched in 1983. The repertoire is based on the fusion between Jazz and Brazilian music, with the compositions of Cláudio Bertrami and Chico Medori as flagships.
abril 17, 2020

Ravid Kahalani - Yemen Blues - 2011

Yemen Blues is a fascinating project by Ravid Kahalani, a meeting point between the traditional melodies of its Yemeni origins with aromas of jazz, funk and blues and with the music of West Africa that, together with modern compositions and arrangements, make up an impressive and amazing musical experience.
Yemen Blues was founded by Ravid Kahalani, a very talented Israeli singer who grew up in a traditional Yemeni family. He learned the traditional language and songs of his origins and incorporated his experiences in the genres of the blues and soul of West Africa from the Sahara desert to the songs of classical opera and African-American blues.
Ravid along with OmerAvital, prestigious bassist and composer, shaped Yemen Blues, a group of excellent musicians from New York, Israel and Uruguay.
Yemen Blues concerts are a celebration of African rhythms, of Yemeni songs, a new musical experience with innovative sounds full of deep emotions and message.

AviLebovich (Israel) - Trombone
Itamar Borochov (New York) – Trumpet
Rony Iwryn (Israel/Uruguay) – LatinPercusion
Itamar Doari (Israel) – Mid East Percusion
Hilla Epstein (Israel) - Cello
Galia Hai (Israel) - Viola
HadarNoiberg (New York) - Flute
Omer Avital (New York) – Oud, Bass, Vocals
RavidKahalani (Israel) – Vocals, Percusion

Tracks list:
01. Wamid
02. Eli
03. Um Min Al Yaman
04. Yemen Blues
05. Jat Mahibathi
06. Trape La Verite
07. Min Kalbi
08. Yoducha
09. Baraca
10. At Va´ani (bonustrack)

abril 15, 2020

The Ladies of Missema, and Pamelo Mounk'a too!

The all-female Gabonese choral group Missema was founded in the 1970s, apparently with some official sponsorship, with the purpose of promoting Gabon's President and kleptocrat-for-life El Hadj Omar Bongo Ondimba and the ruling Parti Démocratique Gabonais. This is well-illustrated by today's musical offering, Omar Bongo 20 Ans (Missema Productions M 2005, 1986).

What makes this LP extra-interesting to me is the presence of Pamelo Mounk'a, an outstanding star of the '80s music scene in Congo-Brazzaville. Here Pamelo contributes not only his considerable vocal talents but his arranging skills and apparently many of the backing musicians. Omar Bongo 20 Ans is therefore a worthy and overlooked entry in Mounk'a's stellar discography.

Sadly Pamelo Mounk'a passed away, too young, on January 14, 1996. Omar Bongo managed to weather the political changes sweeping Africa in the early '90s, hanging on to power through hook or crook before dying of cancer on June 8, 2009. He was then succeeded in office by his son Ali Bongo.
Missema too have managed to hang on, at least until the last decade, and continue their praise-singing ways, as exemplified by this video:

abril 12, 2020

Bassekou Kouyate & Ngoni Ba - I Speak Fula - 2009

After his first album Segu Blue was awarded in the category of Best Record of the Year in the 2008 edition of the "BBC Radio 3 Awards for World Music," BassekouKouyate and his band Ngoni Ba present I Speak Fula (2009), a record that includes the Incredible energy from Bassekou and his Ngoni Ba, one more step in the career of one of Mali's most exciting and innovative musicians.
In I Speak Fula, the band once again affects the timbral basis (the ngoni) of traditional Mali music but with the paradox of revolutionizing the way of playing the instrument. In fact, it is said that in the 80s of the last century, a young BassekouKouyate in a television program, next to the legendary Rail Band of Mali, got up with his ngoni and, advancing to the front of the stage, began to play it as if it was an African Jimi Hendrix, the public being stunned by such provocation (until then the tradition marked that it should be played sitting down).

Bassekou's solo career began relatively late, although the ngoni was a tradition in his ancestors (he is the grandson of the revered Jeli). First it was his father, YagaraDamba, who taught him. Later, in Bamako, he collaborated with ToumaniDiabaté, with whom he recorded up to nine albums. The first time he came to Europe he did it with the same ToumaniDiabaté and HabibKoité. He has collaborated with Ketama (in Shongai 2), TajMahal, DeeDeeBridgewater, YoussouN'Dour, Ali FarkaTouré ... It was after the disappearance of the great Ali Farka when he formed the band Ngoni Ba, animated by the producer Lucy Duran (who has also produced his two albums). First it was a quartet and he recorded his first album, Segu Blue (2007).

Since then he has not stopped playing at worldmusic festivals all over the world. His shows are authentic musical celebrations and the energy that emerges from the stage is very similar to that of a rock concert, in addition to knowing how to transmit that intrinsic joy of his music. Over time the quartet has been transformed into a septet and two percussionists and his wife Amy Sacko are accompanied by the four different ngonis (known as the Tina Turner of Mali). In addition to getting the ngoni to be known to the general public, Bassekou continues to investigate its possibilities, adding more strings and trying new ways to press them.

In I Speak Fula he surrounds himself with the usual friends: ToumaniDiabaté (kora), VieuxFarkaTouré (electric guitar), KasseMadyDiabaté (vocal), HarounaSamaké (kamalengoni), AndraKouyaté (chorus), ZoumanaTereta (vocal and soku) and Baba Sissoko (dun) . It captures all the passion for life that Africa generates with its music. Disc that has been distinguished by the magazine fRoots as Album of the year 2009. A new step of one of the most interesting and innovative musicians of Mali, one of the countries with more geniuses of popular music in the world.

Tracks list:
01. I Speak Fula
02. Jamana be diya (feat. KasseMadyDiabaté, ToumaniDiabaté)
03. Musow - for our women
04. Torintorin (feat. HarounaSamake)
05. Bambugu blues (feat. AndraKouyaté, Vieux FarkaTouré)
06. Amy (feat. ZoumanaTereta)
07. Saro (feat. Vieux FarkaTouré)
08. Ladon
09. Tineni (feat. ToumaniDiabaté)
10. Falani
11. Moustapha

abril 09, 2020

Asa - Beautiful Imperfection - 2010

In a moment of full expansion and with a great variety of experiences under his belt, Asa elaborates his second album, BeautifulImperfection, in an absolutely positive and vital tone.

After the significant success (especially in Europe) of his previous homonymous work of 2007 full of acoustic soul / pop, we meet again with the soft and steamy voice of this artist, who sought comfort to the harsh reality of his childhood in his imagination and intelligence hoping to someday achieve his dreams of musical stardom.

With a new image, a reflection of his own evolution as a person, he is committed to a change in his (more poppy) sound that allows him to express his most intimate and optimistic vision of life; happier and happier tones although social problems are still present in his speech: "My first work reflected my mood at the time. I had a lot to talk about - political and social issues. On this occasion I felt different, I wanted to create something let people out of this pessimistic mood that invades us and try to encourage them to the fullest. "

The album was created in Lagos, where the artist found her inspiration, so the album is strictly about its place of origin; in fact, he sings again in English and Yoruba, his native language. Surprise with his first single, "Be MyMan", a track at a good pace that dives directly into the soul roots of the sixties. Another representative theme of the album is "WhyCan´tWe", adorned with guitar strokes and beautiful harmonies, which conveys what the spirit of the album is: the optimism of the simple, a more affordable album for all audiences, carefree in appearance but without stopping touching, from time to time, the claim. About the title of the album, Asa comments: "The world has infinite imperfections, but, somehow, that is what makes it so beautiful. Besides, I think that only if we accept that it is imperfect, can we try to make it a better place for everyone. " The best songs, without a doubt, those sung in Yoruba ("Bimpé", "Oré" and "Broda Olé").

Tracks list:
01. Why Can’t We
02. Maybe
03. Be My Man
04. Preacher Man
05. Bimpé
06. The Way I Feel
07. OK OK
08. Dreamer Girl
09. Oré
10. Baby Gone
11. Broda Olé
12. Questions

abril 06, 2020

Mokoomba - Rising Tide - 2012

Mokoomba is a young group from Zimbabwe that brings us an electrifying mix of Afro-fusion and traditional rhythms of the Tonga minority of the country, a disc that emanates euphoric youthful energy, natural musical talent and contagious rhythm. They choose the name of Mokoomba to show the deep respect that the people of Tonga have for the Zambeze River and Victoria Falls, and show us the energy and dynamism that this geographical feature imprints on their music and culture.

RisingTide (2012) shows us the excellent work on the guitar of TrustworthSamende and the vocal skills of its leader, MathiasMuzaza, in sentimental and rhythmic songs that evoke the country's greatest musical hero, Oliver Mtukudzi, with sounds from West Africa, African salsa, Reggae, funk and rap. The excellent production is from the great Manou Gallo, from Ivory Coast, who was previously bassist and guitarist of Zap Mama. In this work he directs and produces musically, completing the sounds with keyboards and with the work of thirteen guest artists who contribute kora, flutes, saxos and cello.

Pan-African sound of the best, a music rooted in its reality open to the rhythms of the world.

01. Njoka
02. Masangango
03. Mangongo
04. Mwile
05. Misozi
06. Yombe
07. Nimukonda
08. Ndundule
09. Manunge
10. Mabemba
11. Mvula
12. Welelye

abril 03, 2020

The Touré-Raichel Collective - The Tel Aviv Session - 2012

VieuxFarkaTouré, often called "the Hendrix of the Sahara" (from Mali, son of the great AlíFarkaTouré) and IdanRaichel (from Israel), two virtuosos of music from such disparate environments, have joined their creative forces to give life and form to a improvisation masterpiece, The Tel Aviv Session (2012).
The collaboration was forged after a chance encounter at an airport in Germany. The great friendship that arose between them led them to play together at the Tel Aviv Opera House in November 2010. After that extraordinary concert, Vieux and Idan joined Israeli bassist Yossi Fine and Malian calabash instrumentalistSouleymaneKane, and spent time playing together in a small private studio in Tel Aviv. The resulting sessions, conceived in acoustics, spontaneously, entirely improvised, dazzling with beauty, could only be described as magical. By then, TheTouré-RaichelCollective had just been born.
The eleven tracks of the album stand out for the beauty of an intuitively basted sound. Although the phenomenon of the fusion of musical styles is one of the features of current music, collaborations do not always end in sound understanding. However, this project is understood from the mutual respect for the musical roots of each one. Raichel is stripped of the lush pop arrangements that characterize his music, improvising with chromatic chords from Touré's guitar chords. For its part, the rhythm section plays a vital role in the hypnosis that this album produces.
Singer Cabra Casey, an Israeli of Ethiopian origin and a member of TheIdanRaichel Project, sings and writes the lyrics in the Ethiopian Tigrit language of the song "Ane Nahatka." Another member of TheIdanRaichel Project, YankeleSegal, plays the Persian tar in "Kfar". Mark Eliyahu, who immigrated to Israel from the Russian Republic of Dagestan, adds the sound of kamanche (Azerbaijani violin) to "Alem." The French virtuoso of the harmonica FrédéricYonnet adds his interpretation to the bluesy sound of "Touré". And Vieux adds his vocals to the song "Alkataou" in conjunction with his friend bassist Patrick Ruffino.
In short, a musical jewel where transculturality triumphs.

Tracks list:
01. Azawade
02. Bamba
03. Experience
04. Alkataou
05. Hawa
06. Kfar (feat. Yankale Segal)
07. Touré (feat. FrédéricYonnet)
08. Le Niger
09. Ai HoudeBakoi
10. Ane Nahatka (feat. CabraCasay)
11. Alem (feat. Mark Eliyahu)